sonicwbiifandomcom-20200216-history
Mark of the Vampire
thumbtime=107 | caption = Theatrical trailer | director = Tod Browning | producer = Tod Browning E.J. Mannix | writer = Guy Endore Bernard Schubert | starring = Lionel Barrymore Elizabeth Allan Bela Lugosi Lionel Atwill Jean Hersholt | music = | cinematography = James Wong Howe | editing = Ben Lewis | distributor = Metro-Goldwyn-Mayer | released = 26 April 1935 | runtime = 60 minutes (allegedly originally released in a longer cut) | language = English | budget = }} Mark of the Vampire (also known as Vampires of Prague) is a 1935 horror film, starring Lionel Barrymore, Elizabeth Allan, Bela Lugosi, Lionel Atwill, and Jean Hersholt, and directed by Tod Browning. It has been described as a talkie remake of Browning's silent London After Midnight (1927), though it does not credit the older film or its writers.AFI Catalog: History |http://catalog.afi.com/Catalog/MovieDetails/7071 Plot summary Sir Karell Borotyn (Holmes Herbert) is found murdered in his house, with two tiny pinpoint wounds on his neck. The attending doctor, Dr. Doskil (Donald Meek), and Sir Karell's friend Baron Otto (Jean Hersholt) are convinced that he was killed by a vampire. They suspect Count Mora (Bela Lugosi) and his daughter Luna (Carroll Borland), while the Prague police inspector (Lionel Atwill) refuses to believe them. Borotyn's daughter Irena (Elizabeth Allan) is the count’s next target. Professor Zelen (Lionel Barrymore), an expert on vampires and the occult, arrives in order to prevent her death. After Irena is menaced by the vampires on several occasions, Zelen, Baron Otto, and her fiance, Fedor (Henry Wadsworth) descend into the ruined parts of the castle to hunt the undead villains. When Zelen and Baron Otto find themselves alone, however, Zelen hypnotizes the Baron and asks him to relive the night of the Sir Borotyn's murder. It is then revealed that the "vampires" are actually hired actors, and the entire experience has been an elaborate charade concocted by Zelen in the hopes of tricking the real murderer --Baron Otto-- into confessing to the crime. Acknowledging that the charade has failed to produce its intended results, Zelen, along with Irena and another actor who strongly resembles Borotyn, compels the hypnotized Baron into re-enacting the murder, effectively proving his guilt. During the re-enactment, Otto reveals his true motive: he wished to marry Irena, but her father would not allow it. He also reveals how he staged the murder to resemble a vampire attack. With Baron Otto arrested, Irena explains the plot to Fedor, who was not involved in the subterfuge and believed the vampires were real. The film ends with the actors who played the vampires packing up their supplies, and "Count Mora" exclaiming, "This vampire business, it has given me a great idea for a new act! Luna, in the new act, I will be the vampire! Did you watch me? I gave all of me! I was greater than any REAL vampire!" which is met with general lack of enthusiasm by his fellow thespians. Cast *Lionel Barrymore as Professor Zelen *Elizabeth Allan as Irena Borotyn *Bela Lugosi as Count Mora *Lionel Atwill as Inspector Neumann *Jean Hersholt as Baron Otto von Zinden *Henry Wadsworth as Fedor Vincente *Donald Meek as Dr. J. Doskil *Ivan F. Simpson as Jan *Carroll Borland as Luna *Leila Bennett as Maria *June Gittelson as Annie *Holmes Herbert as Sir Karell Borotyn *Michael Visaroff as Innkeeper *James Bradbury, Jr. as Third Vampire *Egon Brecher as Coroner *Jessie Ralph as Midwife (scenes deleted) Production Co-star Carroll Borland had worked with Lugosi before, in a touring stage version of Dracula; she answered the casting call for the younger vampire role without being aware Lugosi was associated with the film, and won the part after the producers were impressed with how closely her physical movements resembled Lugosi's. She did not mention they had previously worked together. Makeup artist Bill Tuttle would later recollect to author Richard Bojarski, |author=Richard Bojarski |source=''The Films of Bela Lugosi'' (1980) }} According to Borland, the ending of the film (which reveals the "vampires" to be actors hired to trick a murderer) was not revealed to the cast until the end of shooting; Browning felt that their performances would be negatively affected by knowing they were not "real" vampires. She reports that an alternate ending -- in which Professor Zelen receives a telegram from the hired actors revealing they were unable to make their train (thus implying the vampires the film depicts were real) -- was considered but rejected by Browning. She further claims that both she and Lugosi were disappointed with the ending, and found the twist "absurd." Different versions Early reviews of the film list running times of closer to 80 minutes, strongly suggesting that the film was cut back to 60 minutes by MGM after the early previews. This had led to much speculation about what the deleted footage contained.http://www.tcm.com/tcmdb/title/82936/Mark-of-the-Vampire/notes.html | TCM Film Notes Several sources, including critic Mark Viera and TCM writer Jeff Stafford, have claimed that MGM cut out suggestions of incest between Count Mora (played by Lugosi) and his daughter Luna. Viera further claims that the original screenplay explained that Count Mora was condemned to eternity as a vampire for this crime and shot himself out of guilt (which explains the otherwise unaccountable spot of blood which appears on Lugosi's right temple during the film). This was an unacceptable topic according to the standards of the Production Code, and consequently cut from the film. While the subplot was cut, the blood spot on Count Mora's face remains in the finished film and is never explained.Mark A. Viera, Hollywood Horror: From Gothic to Cosmic, New York: Harry N. Abrams, Inc., 2003 Writer Gregory William Mank (who had access to the shooting script for his book Hollywood Cauldron) disputes these claims, asserting that the original cut was only 75 minutes (the reports of an 80+ minute runtime being the result of a misprint) and that most of the cuts were exposition or comedy. He further asserts that the alleged incest subplot was never in the shooting script and never filmed, though he acknowledges that it was likely hinted at in the original scenario for the film written by Guy Endore. This claim is backed up by Borland, who points out that the studio would never have allowed such content to be filmed. Lugosi biographer Arthur Lennig asserts that Endore did originally intend an incest backstory, but that it was removed by the studio before the shooting script was written, though he goes on to claim that a cut line of dialogue indicates that Count Mora shot himself after strangling his daughter. In the commentary which accompanies the film on the Hollywood Legends of Horror boxset released by Warner Brothers, genre historians Kim Newman and Steve Jones seem to concur with Mank, hypothesizing that primarily comedic material--possibly related to the maid character played by Leila Bennett--was cut. Reception Upon its initial release, reviews of the film were relatively positive; a New York Times review by Frank Nugent claimed the film would "catch the beholder's attention and hold it, through chills and thrills..." The review finished, "Like most good ghost stories, it's a lot of fun, even though you don't believe a word of it." It received similar praise from The Los Angeles Times, The Hollywood Reporter, and Motion Picture Daily.Collection of contemporary reviews compiled for TCM by Bret Wood |http://www.tcm.com/tcmdb/title/82936/Mark-of-the-Vampire/articles.html#03 The film earned a tidy profit of $54,000 dollars, though it drew some distinct criticism as well, most notably from Dr. William J. Robinson, who claimed in a letter to the New York Times that, Modern evaluations of the film are more mixed, largely due to the ending, which reveals that the vampires were actors hired to help trap a murderer (the twist is very similar to Browning's previous London After Midnight, where Lon Chaney's vampire character is ultimately revealed to be a detective in disguise). While it was not unusual for 1920's films such as The Cat and the Canary or The Gorilla to end with a reveal that the supernatural threat was a fraud, 1930s films such as Dracula and Frankenstein presented the supernatural elements as real, making Mark of the Vampire something of a anachronism for its time (particularly since Browning and Lugosi were most known for Dracula just a few years earlier). Some viewers thought that the ending compromised the film; Bela Lugosi reportedly found the idea absurd. Some critics, including genre critics Kim Newman and Steve Jones, have suggested the film may be a satire of the conventions of the horror film, pointing to the broad performances by Barrymore and some of the supporting characters, as well as the film's twist ending. See also * Bela Lugosi filmography * Lionel Barrymore filmography * Vampire film References External links * * * Category:1935 films Category:1930s horror films Category:Vampires in film Category:American black-and-white films Category:American film remakes Category:Metro-Goldwyn-Mayer films Category:Detective films Category:Sound film remakes of silent films Category:Films directed by Tod Browning Category:Articles containing video clips Category:Gothic horror films Category:Films set in Prague Category:Horror film remakes Category:American films